Filed Under:September 16th

Moonface is back this September with a new EP called City Wrecker. Preview the new release by watching the a beautiful black and white video directed by rairai.fi of the title track above or here on YouTube / Vevo. Get more insight into the album below via Spencer Krug himself.

I recently made some more recordings under the name Moonface, which take the form of a 5 song EP called City Wrecker, and run at around half an hour.

City Wrecker is the title track of the ep. I wrote it before Miley Cyrus released “Wrecking Ball”, but I cannot prove it. Oh well. In describing the song (and maybe the whole EP) I would say it’s the aesthetic opposite of “Wrecking Ball” by Miley Cyrus, which is not to say that’s a good thing or a bad thing, just an apple for you to hold up beside your orange. Regardless of all that, my friend Eetu, who recorded this EP, still likes to call the song “Wrecking Ball” and to sometimes call me Miley, but that’s okay cuz we’re buddies.

I lived in Finland for a couple of years, but now I live in a little town nestled in the woods of Vancouver Island. This is a recent move, and so City Wrecker represents the last album I completed in Helsinki. Maybe I will go back to that big icy lighthouse, and all the lovely weirdos within I have come to love, one day, but for now I have used it up.

I have a tendency to wreck the places I live. I am a luster scraper; a green grass imaginer. I wreck places emotionally, as in, even though they stay the same objectively, they somehow worsen in my heart. I wreck their meaning, and so ultimately their function. No more crackling inspiration. I waste my own time. I get bored. I turn gardens into dust bowls.

And I am a city wrecker not just for myself, but for those close to me as well, for my wrecking is a quiet and creeping poison that is hard to identify; hard to see coming through my mist of moods. I fuss, and then still am dissatisfied, making my loved ones feel sad and helpless, angry and confused, and perhaps most terribly, responsible. Though of course they are blameIess and magnificent.

I suppose this is why I have moved so many times in my life. It is not a good characteristic, and one I should work toward eradicating from my personality. But having regret is also unhealthy. So, I am Popeye?

Anyway, all of the songs on this ep, in one way or another, are about places. Going in and going out. Regret and hope. The past and the future. Ducking out early from your own farewell party. That’s why it’s called City Wrecker.

-Spencer Krug

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CITY WRECKER TRACK LISTING:
1. The Fog
2. City Wrecker
3. Running in Place with Everyone
4. Helsinki Winter 2013
5. Daughter of a Dove

Very happy to welcome back Lia Ices with the announcement of her new album Ices out on September 16th on Jagjaguwar. Following up 2011’s acclaimed Grown Unknown, the new album was produced by Benny Sagittarius [production team of Lia and her brother Eliot] and support from Clams Casino on several tracks. You can experience the first single “Thousand Eyes,” off the new album via an enthralling video directed by Dougal Henken that features artwork by Hugo Barros. Watch the “Thousand Eyes” video above or here on YouTube.

“Each song on the record became a collage of times, places, and people. Most of them started in the Hudson Valley, where Eliot and I wrote and recorded vocals, guitars, synths, and beat ideas.

“We’d send those first incarnations to Clams Casino in New Jersey and then we’d meet up in Brooklyn to arrange the new parts together. We worked in the penthouse of the Wythe Hotel – a floating glass box. We’d set up our computer, mixing speakers, midi keyboards, and all our weird gear, plus thai food and red wine. We’d bring up one of our demos and we’d sit behind the midi keyboard and sift through sounds and ideas and beats and find new things together.

“After those Wythe Sessions (in Brooklyn) we took different tracks to Woodstock and Los Angeles to layer in live drums and percussion, and I went to Atlanta to record final vocals. For the first time, Lia Ices felt like an inclusive project with its own identity, not just a name.”